THE THREE LITTLE JAVELINAS

1. BIBLIOGRAPHY

Lowell, Susan. 1992. THE THREE LITTLE JAVELINAS. Ill. by Jim Harris. Flagstaff, AZ: Rising Moon. ISBN 0873585429

2.  PLOT SUMMARY

This story takes the original tale of the three little pigs and adds a southwestern twist. The three little javelinas live in the desert and have set out to make homes of their own. The first javelina builds his home from tumbleweeds. A conniving coyote stumbles upon this house and causes the tumbleweed home to collapse when he huffs and puffs. The first little javelina escapes to the home of the second little javelina who has built his home from saguaro ribs. Once again the coyote finds the javelinas and also destroys this home.

Finally, the two javelinas meet with the third javelina who has built her home from adobe bricks. When the coyote tries to huff and puff, the adobe home is strong enough to withstand the attack. The clever coyote tries once more to enter the adobe home through the stove pipe, but the javelinas think quickly and light a fire in the stove, sending the coyote running through the desert howling in pain.

3. CRITICAL ANALYSIS

Lowell's use of an action packed plot keeps this story fresh even though it is a timeless tale. The conflict caused by the coyote repeatedly plotting disaster keeps the plot moving at a fast pace. The southwestern setting also contributes to a new take on this old favorite. The javelinas' use of tumbleweeds, saguaro ribs, and adobe bricks highlights their ingenuity and resourcefulness in a dry and deserted region. Lowell's writing style seamlessly incorporates these changes while closely aligning with the plot of the original tale. Vivid diction such as "the first little javelina wandered lazily along" or "the three little javelinas trotted away to seek their fortune" helps convey a sense of a slower paced life in the desert.  Lowell's style also helps to highlight the setting by using local dialect in phrases such as "...'Ha'u' which means 'yes' in the language of the Desert People."

This tale emphasizes the theme of good versus evil because the three little javelinas eventually triumph over the big, bad coyote. Lowell, adds a humorous twist to this familiar theme by informing the reader that "if you ever hear Coyote's voice, way out in the desert at night...well, you know what he's remembering!" Lowell uses this line to refer to the eventual demise of the coyote when the javelinas light the stove pipe and send the coyote away howling in a puff of smoke.

Jim Harris uses vivid colors to make even the desert an appealing setting. The illustrations accurately portray text descriptions such as "steep purple mountains looked down on the desert where the cactus forests grew." Splashes of color may be seen in the javelinas' clothing, the wildflowers, or the flowering buds of the cactus. The adjacent placement of text on one page and full page illustrations on the opposite page make for an easy read. Smaller key illustrations found on the same page as the text serve to complement and extend the full page illustrations. For example, the full page illustration of the tumbleweed home is complemented by a small image of the whirlwind that gave the first javelina the idea to construct his home from tumbleweeds.

The illustrations enhance the cultural image created by the text by offering accurate visuals of natural resources, vegetation, animal life, and people found in the desert. Harris' illustrations of the Native American woman and the Spanish speaking brick maker help readers to experience life in the desert of the southwest. One image of a hot javelina sweating profusely in the sweltering desert sun allows the reader to experience the intense heat of the region.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

This comical twist on the original version proves to be a notable strength of this book. Especially entertaining are the jokes related to the hairy nature of the javelinas. For example, Lowell states that "their heads were hairy, their backs were hairy, and their bony legs-all the way down to their hard little hooves-were very hairy." The use of inventive building materials to construct the javelinas' homes serves to educate readers on the local climate and natural resources of the Southwest. A possible weakness of this book might be the use of specialized language related to the Southwest. English language learners unfamiliar with terms such as saguaros ribs, javelina, and adobe may need extra assistance to fully understand their meanings. However, explaining these terms will be beneficial to all students, even those that are not English language learners.

5. REVIEW EXCERPT(S)
"In her first book for children, Lowell spices the story with elements of Native American, Mexican and Old West culture." (PUBLISHERS WEEKLY)

"Complete harmony of text and pictures: altogether lovely." (KIRKUS REVIEWS)

"Whether read aloud or in amused solitude, this is a picture book that will be enjoyed again and again." (SCHOOL LIBRARY JOURNAL)

6. CONNECTIONS

*Students can select a geographic region, research resources, and tools available in that area for building, and write their own version of THE THREE LITTLE PIGS in their unique setting of choice.

*Students can construct models of the three types of homes created by the javelinas using resources around the home (toothpicks, clay, sticks).

*Students can research the desert climate and share information on animals, plants, and weather patterns related to that region.

THE FIRST STRAWBERRIES: A CHEROKEE STORY

1. BIBLIOGRAPHY

Bruchac, Joseph. 1993. THE FIRST STRAWBERRIES: A CHEROKEE STORY. Ill. by Anna Vojtech. New York, NY: Dial Books for Young Readers. ISBN 0803713312

2.  PLOT SUMMARY

In this story Joseph Bruchac retells the Cherokee legend of the origin of the first strawberries. A man and woman were created for one another and lived happily on the land the creator had given them. One day the woman is distracted by the beauty of flowers, and her husband becomes angry because she has not prepared any food. Angry and hurt, the woman runs away. Guided by the sun, the man goes after her. The sun helps the man catch up to the woman by causing a variety of berries to grow along her path. However, the woman does not pause for any of the beautiful berries until a patch of strawberries springs up. The woman shares the sweet strawberries with her husband and the two are able to resolve their anger towards one another. The story serves to remind the Cherokee people to always cherish kindness and friendship.

3. CRITICAL ANALYSIS

A fast moving plot makes this book a quick and easy read. The reader almost feels as though he or she is running along with the woman as she passes each new berry patch. The reader gains a sense of the woman's urgency when Bruchac states, "The berries were ripe and looked good to eat, but the woman paid no attention to them and continued walking." Readers can easily identify with the characters because feelings of anger, hurt, and remorse are experienced universally. When the woman says, "Your words hurt me," it is easy to identify with the pain and anger she is feeling towards her husband. The setting in nature and an emphasis on flowers, sun, and berries reflect the value placed on nature by the Cherokee people. Bruchac uses vivid diction to describe the berries such as "plump" and "glistening." The use of figurative language in similes such as, "they glowed like fire in the grass" helps the reader visualize the beauty found in nature.

The theme reminds the reader to treasure and value friendship and kindness. The theme is clearly stated when the husband seeks his wife's forgiveness "and she answered him by sharing the sweetness of the strawberries." The reader is reminded both of the literal sweetness tasted in a strawberry as well the figurative sweetness found in a happy relationship.

Anna Vojtech uses watercolors to create realistic depictions of the beauty found in nature. The use of watercolors creates a hazy, dreamlike background setting such as rolling hills or blazing sunsets. Two page illustrations are dedicated to capturing the beauty and grandeur of lush landscapes. During the argument between the man and woman, Vojtech emphasizes their faces rather than the landscape, allowing the reader to experience the heated emotions. Vojtech positively represents the Cherokee culture by devoting a majority of the illustrations to the beauty found in nature. Furthermore, her simple and realistic illustrations avoid a stereotypical portrayal of Native Americans. For example, the characters dress in plain animal skin clothing with minimal accessories. Finally, Vojtech uses earth tones, such as tan and brown, to create illustrations of the land, characters, and surroundings. In contrast, bright colors, such as yellow, blue, purple, and red, are used for the berries and flowers. This use of color highlights the importance of nature and vegetation among the Cherokee people.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

Strengths of this book include an engaging plot. The reader is instantly engaged because he or she wants to learn about the origin of the first strawberries. A specific weakness may be the simplicity of the story. An author's note states that even though Bruchac had heard this legend before, he consulted Cherokee storytellers to help him grasp the story. Perhaps the story might include greater detail had an original storyteller, like the ones Bruchac consulted, actually written the text.

5. REVIEW EXCERPT(S)

"Bruchac … once again brings simplicity and lyricism to his interpretation of Native American legend." (PUBLISHERS WEEKLY)

"Complete harmony of text and pictures: altogether lovely." (KIRKUS REVIEWS)

 6. CONNECTIONS

*Share other Cherokee legends by Bruchac such as THE STORY OF THE MILKYWAY: A CHEROKEE TALE (ISBN 0803717377)

*Students can create their own story about the origin of something found in nature.

*Allow students to sample the different berries as the story is being read aloud to connect the literature to the sense of taste.

THE THREE PIGS

1. BIBLIOGRAPHY

Wiesner, David. 2001. THE THREE PIGS. Ill. by David Wiesner. New York, NY: Clarion Books. ISBN 0618007016

      2. PLOT SUMMARY

In this version of THE THREE PIGS, Wiesner takes an unexpected approach to the traditional tale. The story begins like most versions, with the first two pigs unsuccessfully building their homes from sticks and straw. However, that is where the traditional plot ends. The three pigs gather at the brick house, but when the wolf begins to huff and puff, the actual text and illustrations are blown out of place. This mishap leads the pigs into a world full of pages from popular storybooks. Along the way the pigs meet several other characters from popular children's books. In the end, the pigs return with their new friends and live safely in the house of brick.

3. CRITICAL ANALYSIS

Wiesner creates a unique retelling of the traditional story of THE THREE PIGS by including characters from other folktales and nursery rhymes. The plot lacks some of the clarity that is characteristic of folktales because the reader almost gets a sense of being lost in the storybook world along with the pigs. Customary diction, such as "the wolf huffed, and he puffed…," used to describe the wolf's behavior helps this version remain grounded in the original tale. The pig characters are quite comical in Wiesner's version, making this a fresh read. The use of speech bubbles allow each pig to have a turn contributing to the comic relief, such as, "Hey! He blew me right out of the story!" The theme of good defeating evil is highlighted when the pigs are able to rescue characters from other tales from their own demise.The cat encountered by the pigs in the nursery rhyme HEY DIDDLE DIDDLE conveys this theme, and confirms the idea of living happily ever after when he states, "I think we're going to like it here."

Wiesner uses watercolors and pencil to create the illustrations. Muted colors make for calming illustrations in a somewhat chaotic storyline. The beginning and ending of the book is set up in a series of rectangular boxes similar to a graphic novel. These boxes tend to house the text and illustrations one would find in a more traditional version of THE THREE LITTLE PIGS. However, the supplemental text and illustrations outside of these boxes contribute to the revised version as told by Wiesner.  As the story progresses, the actual text and illustrations become jumbled.The pigs even turn one page into a paper airplane and fly away into the world of storybooks. A dramatic use of white space on several pages gives the reader a sense of flying far away into another land. This unique method of distorting the illustrations and text contributes to the originality of this book. 

Wiesner uses distinct styles to illustrate the visits to other books inside of this book. For example, he uses only a black and white sketch to illustrate the pages from the story about the slaying of the dragon. In contrast, the pages dedicated to the nursery rhyme characters use brighter colors and cartoon style illustrations to convey a sense of fantasy. This variety in illustrations helps hold the reader captive throughout the duration of the book.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

The use of a story within a story technique proves to be a strength of this book because it livens up a traditional story that has been heard multiple times. Children are likely to enjoy the whimsical nature of this book that allows the pigs to sail off into a storybook world. One weakness I perceived was the odd placement of text. Although having letters or entire words falling off of a page provides an interesting perspective, I found it to be slightly frustrating as I was reading the book. At times I felt as though it was impossible for me to read important text thoroughly. I can imagine this frustration would be intensified for a child.

5. REVIEW EXCERPT(S)

"…when the wolf huffs and puffs, he not only blows down the pigs’ wood and straw houses, but also blows the pigs right out of the story and into a parallel story structure" (KIRKUS REVIEWS)

"As readers have come to expect from the inventive works of Wiesner, nothing is ever quite as it seems in his picture books." (PUBLISHERS WEEKLY)

"Witty dialogue and physical comedy abound in this inspired retelling of a familiar favorite." (SCHOOL LIBRARY JOURNAL)

6. CONNECTIONS

*Read THE TRUE STORY OF THE THREE LITTLE PIGS (ISBN 0140544518). Students can compare and contrast the two versions of the original tale.

*Students can work in collaborative groups to choose two folktales to merge into one story. Students will create a plot that allows the characters to meet just as Wiesner did in THE THREE PIGS.

*Locate or create a reader's theater script that can be used for a retelling of this story.

KNUFFLE BUNNY TOO: A CASE OF MISTAKEN IDENTITY

1. BIBLIOGRAPHY

Willems, Mo. 2007. KNUFFLE BUNNY TOO: A CASE OF MISTAKEN IDENTITY. Ill. by Mo Willems. New York, NY: Scholastic. ISBN 9780545105589

      2.  PLOT SUMMARY

In this sequel to the original KNUFFLE BUNNY: A CAUTIONARY TALE, a young girl named Trixie goes to Pre-K with her favorite stuffed animal named Knuffle Bunny. However, a fellow classmate, Sonia, shows up to school with the exact same bunny. Trixie and Sonia spend the day arguing about which bunny is best. Finally, the teacher confiscates the bunnies and returns them at the end of the day. 

Unbeknownst to the girls, the teacher accidentally swaps the stuffed animals upon returning them. Each girl takes the bunny home and does not realize the mistake until bedtime. The girls' parents are forced to rendezvous in the middle of the night to swap the bunnies. In the end, the girls develop a strong friendship as a result of the mix-up.

3. CRITICAL ANALYSIS

Willems use of Trixie as the main character makes this book easy for young children to relate to. Children can identify with Trixie because they often have a special toy or blanket that they can not live without. Therefore, the lengths Trixie is willing to take to secure her own Knuffle Bunny is readily understood in the mind of a young child. Willems also holds the reader captive by creating an unexpected twist in the plot. Everything seems to be just fine until Trixie realizes in the middle of the night that, in fact, this is not her Knuffle Bunny. Climax is reached at the point when the fathers and girls meet up in New York City in the middle of the night to correct the mistaken identity.

The illustration technique used by Willems is unique and engaging. He uses black and white photographs of actual scenes from New York City as the background. Hand drawn ink sketches of the characters are colored digitally and placed on top of the photographs. The contrast between the sketches and photographs creates a visually stimulating image that is appealing to the reader. The setting of the story is solely conveyed through the black and white photographs taken from actual buildings and locations in New York City. This novel illustration process that combines sketches with actual photographs makes for a unique book that is likely to hold readers captive.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

One main strength of this book is the unique illustrations. The blending of black and white photographs with colorful sketches is especially dramatic. As a reader, I was captivated by the photographs of life in New York City. This unique method of illustration, along with clever and comical text, helps to hold the reader's attention A possible weakness it that the simple plot and subject matter may be primarily appealing to a younger age group. Although older children can enjoy this book, it may be more of a challenge to actually interest them in reading it based on the subject of a stuffed animal.

5. REVIEW EXCERPT(S)

  "…the slice-of-life artwork is smashing" (BOOKLIST)

  "this offering, with its technical brilliance and its total and sympathetic understanding of the psychology of the preschooler, stands as magnificent in its own right" (KIRKUS REVIEWS)

6. CONNECTIONS

*Students can bring their own special stuffed animal from home to write about and share.

*Students can create their own colored illustrations to place on top of black and white photographs similar to Mo Willems style.

*Read the original KNUFFLE BUNNY: A CAUTIONARY TALE (ISBN 0786818700). Students can compare/contrast with the sequel.

SYLVESTER AND THE MAGIC PEBBLE

1. BIBLIOGRAPHY

Steig, William. 1969. A BALL FOR DAISY. Ill. by William Steig. New York, NY: Windmill Books/Simon and Schuster. ISBN 0671665111

      2.  PLOT SUMMARY

Sylvester Duncan is a young Donkey who likes to collect pebbles. One day Sylvester goes exploring outside and finds a red pebble. Sylvester discovers that when he makes a wish while holding the red pebble, the wish comes true. He enjoys making several wishes until he runs into a lion. Sylvester is so scared he can think of nothing else but to wish that he would turn into a rock so that the lion will not disturb him. The power of the magic pebble grants this wish. However, once Sylvester is a rock he realizes he can no longer make a wish while holding the pebble. 

Days and weeks pass by and the whole town helps Sylvester's parents search for him. Finally, his parents decide to have a picnic near the rock that is actually their son. The magic red pebble is nearby, and Sylvester's mother makes a wish that her son would return. Sylvester magically appears as a donkey once again, thanks to the power of the magic pebble.

3. CRITICAL ANALYSIS

This book appears to be intended for a younger audience that would likely enjoy hearing it as a read aloud. The characters' personification makes them easy to relate to. The plot follows a fairly steady pace through the point of Sylvester's disappearance. Plot momentum is lost when no one is able to find Sylvester and the seasons begin to change. Thankfully, a resolution is just around the corner at the spring time picnic. The theme of this book is based on the idea that the power of magic can quickly lose its appeal when one is missing out on family or being with loved ones.

Steig's use of vivid, bright colors make the illustrations appealing to the reader. The use of muted tones help convey scenes of disappointment and sadness. The illustrations supplement the text by providing detailed images that enhance the reader's understanding of the plot. The illustrations also contribute to the description of the setting of the story. The book begins in a small family room of a home and transitions outdoors, specifically to Strawberry Hill. The use of varying colors helps the reader to determine the passing of time and changing of seasons.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

A strength of this book was that it was easy to sympathize with Sylvester's character. Steig's illustrations successfully portray Sylvester's emotions through facial expressions and body language. One weakness that concerned me was the slightly depressing turn of events in the plot when Sylvester's parents seem to have given up and resigned to the fact that their son is gone. I feel some children might be bothered that there was not more Sylvester's parents could do to find him.

5. REVIEW EXCERPT(S)
Caldecott Medal Winner 1970 (ALSC)

"That strange little story of magic, loss, and recovery strikes a deep chord in the hearts and minds of children and parents everywhere." (SCHOOL LIBRARY JOURNAL)

"William Steig's pearly colors, one of the prettiest" (KIRKUS REVIEWS)

6. CONNECTIONS

*Students can bring their own special pebble and write a story about its magical powers.

*Share another book by William Steig, such as DOCTOR DESOTO (ISBN 0374418101), and compare/contrast illustrations.

A BALL FOR DAISY

       1. BIBLIOGRAPHY

Raschka, Chris. 2011. A BALL FOR DAISY. Ill. by Chris Raschka. New York, NY: Schwartz & Wade Books. ISBN 9780375858611

       2. PLOT SUMMARY

In this colorful, wordless picture book, Chris Raschka illustrates the story of a dog named Daisy and her favorite red ball. Daisy enjoys all sorts of activities with the ball including doing tricks, taking naps, and playing at the park. However, one day at the park another dog captures Daisy's ball. While playing with the ball, the other dog pops it and Daisy is forced to go home with her less than perfect ball. After returning home, Daisy does not quite know what to do with herself without her trusty ball. The next day at the park Daisy is presented with an unexpected gift from the other dog and her owner – a brand new blue ball!

3.      CRITICAL ANALYSIS

Raschka's colorful watercolor illustrations tell the whole story in this wordless picture book. The use of sequential events on a single page allows the reader time to create the words in his or her mind. This same strategy of successive images on one page also allows the reader to gather greater detail about the story plot. In addition, the facial expressions and body language of the main character, Daisy, contribute to the plot development of the story.

Raschka's water color illustrations use bold lines and colors to create child-like illustrations. Lines used for the dog's leash, as well as marks indicating movement of her tail and body, help to put this story into action. The bright colors of red and blue help the beloved ball stand out against the more muted pastels used in the background. Overall, the child-friendly illustrations and energetic use of color and lines make this wordless book appealing to any reader.

4. PERSONAL RESPONSE: STRENGTHS AND WEAKNESSES

A notable strength of this book is the use of action and emotion in the illustrations to make it easy for any age to tell the story of this wordless book. A dog as the main character is a good choice because children and adults alike often have prior knowledge about pets. One possible weakness is the use of multiple illustrations on a single page depicting the passage of time. This strategy may prove confusing to young readers who have not developed sequencing skills. Some adult assistance may be needed in this case.

5. REVIEW EXCERPT(S)

Caldecott Medal Winner 2012 (ALSC) 


"A Ball for Daisy gets better each time I read it." (HORN BOOK)

"Raschka’s nuanced illustrations brilliantly depict joy, shock, disbelief, sadness–and, with the gift of a blue ball–renewed contentment." (SCHOOL LIBRARY JOURNAL'S Best Books 2011)

“It puts you directly in the head space of its canine protagonist." (BOOKLIST)

6. CONNECTIONS

*Students can create their own words for the wordless book by brainstorming a list of nouns, verbs, and adjectives related to the illustrations (Random House, 2011).

*Students can create their own wordless book using only illustrations to tell a story (Random House, 2011).

*Share another wordless book for comparison purposes such as TIME FLIES (ISBN 0517595982) by Eric Rohmann (Random House, 2011).

Reference:

Random House Children's Books, "RandomHouse.com/kids." Last modified 2011. Accessed June 7, 2012. http://www.randomhouse.com/catalog/teachers_guides/9780375858611.pdf.